cubanmiamiboy

Mme.Alonso on Balanchine and "Theme and Variations". Youskevitch's variation: "The variation that Balanchine made for Youskevitch, so celebrated by the critics, had its evolution during the stage phase of the work. Initially, i remember that he created a variation very par terre, technically simple, based on positions and designs of diferent angles of [Y] body's line. Then he overheard that Youskevitch wasn't pleased with the variation, because he considered that i had too little technical complexities. B. acepted the challenge and said: G.B: 'All right, we will do a variation based on three brilliant choreographic themes', and it resulted in what probably is the variation with the highest technical virtuosism among all those that he created for men"

Printscess, from now on you're absolutely my hero!!! This world would su much better and easier with moms like you...

Oooh, the old ilussional "imperial white magic" is gone now that i have to relate the lovely snowflakes with borax and boric acid.. (never occured to me that kind of question...BTW, BT'rs are really stepping out of the box and being creative, ah? )

I've been sometimes tempted to buy this japanese editions. I guess i should first get me an all-region DVD player...mmm...will think about it...

He,he...isn't she wonderful?...i would get hooked with her too, Adam. Welcome!!!

No, bart...i haven't seen it happened. On the contrary, i've seen the other way around. I remember watching wonderful ballerinas getting older and dancing 2 Willis, Pas de Trois and the like their whole life without being promoted, and that was sad to watch...One of the cases was Lorena Feijoo, who was never promoted to Principal and never even got her chance to dance Odette/Odile in Cuba...If she wouldn't have left the island, she would had never gone to the top, where she is now, as a SFB Principal...

Well, in the Ballet Nacional de Cuba's case, there is a historic rigid hierarchy within the troupe, and strict old rules for promotion are religiously practiced. The corps de ballet is divided into three levels - A, B, and C, after which came promotion to coryphée, and hence to the rank of soloist, second soloist, and first soloist. Main roles are normally given to the principal dancers, who, when they have proved their worth might be nominated étoile. The highest accolade is that of prima ballerina. Promotions are officially made every two years, but a coryphée can become a soloist in six months . Mme. Alonso always enphazises on the fact that it's very important for the younger dancers , no matter how brilliant they are, to learn the discipline which comes from being in the corps de ballet, and to know what's happening around them. She always states that she learned that the hard way from her years at Ballet Theatre on the early 40's.

I know!...I absolutely love their Giselle clips...She's the most ethereal being that i've ever seen. Actually, they were my "romantic ballets" pick in that other thread about couples and styles...

The worst is when they start a variation displaying their overextended limbs to ridiculous levels and right after they prove to be a disaster in everything else...(e.g, balances, jetes, sautees, etc...)...I have some names, but i better keep it quiet...

Lucky you, Mel !...the only required book, (obligatory, actually ), that i had to go through all my school years was Karl Marx's "The Capital". ..Thank God that i had my grandfather's library at home...!

I've seen many different approaches to this characters. According to the one that i grew up with, Mme. Alonso's , Albretch's feelings builds up as the first acts goes on, to the point when one feels that the simple identity/flirt game have progressed towards something more complex. Also, is interesting to add that in the cuban production,(see Alonso/Vasiliev as reference), Albrecht tries to run out of the village at the realization that he has been caught up on his lie, (who knows, maybe he would later return and give some explanations to Giselle), but he gets abruptely intercepted every time he tries to run out to a wing by the court members, who enter by every angle all bowing at his sight...THEN, he saddly kind of give up, to the realization that his real fiancee is right there, and his fate has been decided already, but he does it clearly frustrated and not in the openly fresh-remorsless attitude a la Nureyev. Also, after Giselle's death, he doesn't run away,like Nureyev does, but he just can't hold his pain and his newly found love feelings for her,(too late!) and kneel down on the ground crying while desperately kissing her feet in front of Bathilde and everybody else...That, for me, is the confirmation that he has loved her, even if it's been for a few minuts/hours...In other productions, it looks to me as infatuation...

I think the topic is very appropiate. Ears are a plus in Giselle. That's why i strongly believe that the only option to the the anatomical display of ears on the Willis is none . I don't like to see any part of the ears on this surreal spirits. I only accept the middle partition/all covered ears hair do as the ideal romantic approach to the characters.

Tonight there was the Grand Gala Homage to Roland Petit, also recipient of the "A life for Dance" Lifetime Achievment Award at the Carnival Center. I know that i won't probably have any other BT'rs fellow watchers from Miami to contribute, but at least i know that Roland Petit's choreographic works are familiar for some out there, so it would be interesting to know their opinions. For me, at least, it was a first, as i had seen only one work from him, years ago, when i didn't really know anything about his extensive choreographic career. Also, i just realized that "that" was a Petit's work when i saw it again tonight, and amazingly, danced by the same dancer whom i had seen it by the first time. So the program consisted of four works, all danced by the Roland Petit Ensemble, from France, from which Mr. Petit is the Artistic Director. This was the program order: 1-"The Opener". Choreography by Roland Petit, Music by Duke Ellington, Performed by Altan Dugaraa. As soon as "The Opener" started, i inmediatly felt a sense of vaudeville/cabaret inspired atmosphere in this male solo ballet, danced to a jazzy vigorous music. It consisted in a non stopping series of classical steps mixed with modern dance and mime, all succesfully delivered in an almost agressively secure way by Mr. Dugaraa, a great performer. i loved it, so did the public. 2-"The Great Gig in the Sky", choreography by Roland Petit, Music by Pink Floyd, Performed by Raquel Lopez and Lienz Chang. I would like to really express all that i felt when saw Mr. Chang after more than 15 years since the last time that i saw him partnering Mme. Alonso while he was Principal Dancer at Ballet Nacional de Cuba, when suddenly he dissapeared until now...but i won't, for respect to the dancer. I just want to observe that the picture was sad, and i was shocked...he was at the top back then, if anybody out there remembers him on the early 90's...There is still a video of him partnering a very young Viengsay Valdes (now first dancer at Ballet Nacional de Cuba). 3-"Je Cherche Apres Titine, Les Petits Chaussons", from the ballet "Charlot is dancing with us", choreography by Roland Petit, Music by Charles Chaplin, Performed by Luigi Bonino. It was a delightful small piece danced by Luigi Bonino, a senior member of this ensemble (whom i remember from a Festival back in Havana in 2000) in which he portrays Charles Chaplin and his famous moves from his films. Tastefully delivered. 4-"Ma Pavlova". choreography by Roland Petit, Music by Jules Massenet, Performed by Eva Crevillen and Lienz Chang. Another piece for two that left me thinking again how cruel the balletomane eye can be related with the dancer's figure and body..Could have been a good piece in another choice of dancers. 5-"Run Like Hell", Choreography by Roland Petit, Music by Pink Floyd, Performed by Altan Dugaraa. Another technical display by this excelent dancer with gymnastic-like qualities, again mixed with classical pirouettes, jetes and even some kind of tribal dancing...short, intense,interesting and worth to see. 5-"Cheek to cheek". Choreography by Roland Petit, Music by Irving Berlin, Performed by Luigi Bonino and Raquel Lopez. A lovely piece for two that i recalled seeing performed by Mr. Bonino and Mme. Loipa Araujo, one of the "4 jewels" of the Ballet nacional de Cuba , in Havana in 2000. It tells the story of two mature lovers going on a date, in which they dance around and over the table...very cute and lovely delivered. Does any or this works rings a bell?

I'm sooo relieved to read that...Thank you so much, Susan, for the encouragment!... Looking forward to see Murphy/Corella and Kent/Carreno..!.Do you think it'll happen...? Anything with Kent/Corella (i.e Swan Lake or Le Coursaire) run to the box office, do not walk and get your tix. I know!...I saw them all when they came over with their SL, and i specially remember the Kent/Carreno night...it was magical, and i'm praying to see her Aurora...I know that Murphy is the dazzling all favorite, but for some reason, Kent really got me into the lake that night...

Hi. Barbara!!...wow, that's great that you went back to take classes. That's one thing i've always dreamed about, but has never happened...Sometimes i bike my way to the MCB studios and watch the adult class from the glass window. Anyway, Welcome!

I'm sooo relieved to read that...Thank you so much, Susan, for the encouragment!... Looking forward to see Murphy/Corella and Kent/Carreno..!.Do you think it'll happen...?

....and that's going to be my first approach to live "Beauty"...my very first... I was so excited with the ABT production coming over Miami, and now, after reading this posts, the magic is gone . Please...can somebody cheer me up...any good comments...?

I read Lord Byron's poetry when i was a teen, but haven't revisited him ever since. Maybe is time for myself to "reassess" his works...

That reminds me the part on the "Ballet Russes" documentary when one of the dancers recalls Brodislava Nijnska's being quite unpleasant about touching the sweating bodies of the dancers during rehearsals, so she would always wear white gloves to do so...

Mme. Alonso's school Bravo Yonah!!

Not only men!...In my Youtube account's "favorites", i have a clip of Viengsay Valdes doing the Black Swan, and at the end, when she's bowing, you can see her dripping wet from sweat...(understandable after dancing that killer Alonso's coda... )

Absolutely wonderful!! Could that have been from the Shangai Ballet Competition...?

Romantic ballets: Alina Cojocaru & Johan Kobborg Their Giselle is truly enjoyable and their real love for each other really shows onstage. Classical ballets: Lorna Feijoo & Carlos Acosta. They both enjoy bravura and flamboyancy, aside from having a brilliant technique. They also come from the same ballet school/style, and that makes their partnership specially "likeable".(eg. Diana & Acteon in Youtube)

...and from the past, of cooooooooourse, who else than Mr. Perfection, (aka George Zoritch?) just take a look... http://www.georgezoritch.com/frame.html Love the beard on Hadrian too! ...the one taken by Massine in Florence is my favorite. So, do i get any credit for my Zoritch choice...?

...and from the past, of cooooooooourse, who else than Mr. Perfection, (aka George Zoritch?) just take a look... http://www.georgezoritch.com/frame.html